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Charles Villiers Stanford
Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Anglo-Irish composer, music teacher, and conductor of the late Romantic era. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it.
While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge. In 1882, aged 29, he was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life. From 1887 he was also Professor of Music at Cambridge. As a teacher, Stanford was sceptical about modernism, and based his instruction chiefly on classical principles as exemplified in the music of Brahms. Among his pupils were rising composers whose fame went on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, Stanford held posts with the Bach Choir and the Leeds Triennial Music Festival.
Stanford composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. He was a dedicated composer of opera, but none of his nine completed operas has endured in the general repertory. Some critics regarded Stanford, together with Hubert Parry and Alexander Mackenzie, as responsible for a renaissance in music from the British Isles. However, after his conspicuous success as a composer in the last two decades of the 19th century, his music was eclipsed in the 20th century by that of Edward Elgar as well as former pupils.
Early years[edit]
Stanford was born in Dublin, the only son of John James Stanford and his second wife Mary, née Henn.[1] John Stanford was a prominent Dublin lawyer, Examiner to the Court of Chancery in Ireland and Clerk of the Crown for County Meath.[2] His wife was the third daughter of William Henn, Master of the Court of Chancery in Ireland and his wife Susanna Lovett of Liscombe House, Buckinghamshire, and granddaughter of the judge William Henn.[3] Both parents were accomplished amateur musicians; John Stanford was a cellist and a noted bass singer who was chosen to perform the title role in Mendelssohn's Elijah at the Irish premiere in 1847.[4][n 1] Mary Stanford, "a lady of great charm", was an amateur pianist, capable of playing the solo parts in concertos at Dublin concerts.[4]
The young Stanford was given a conventional education at a private day school in Dublin run by Henry Tilney Bassett, who concentrated on the classics to the exclusion of other subjects.[6] Stanford's parents encouraged the boy's precocious musical talent, employing a succession of teachers in violin, piano, organ and composition. Three of his teachers were former pupils of Ignaz Moscheles, including his godmother Elizabeth Meeke, of whom Stanford recalled, "She taught me, before I was twelve years old, to read at sight. ... She made me play every day at the end of my lesson a Mazurka of Chopin: never letting me stop for a mistake. ... By the time I had played through the whole fifty-two Mazurkas, I could read most music of the calibre my fingers could tackle with comparative ease."[7] One of the young Stanford's earliest compositions, a march in D♭ major, written when he was eight years old, was performed in the pantomime at the Theatre Royal, Dublin three years later.[8] At the age of seven, Stanford gave a piano recital for an invited audience, playing works by Beethoven, Handel, Mendelssohn, Moscheles, Mozart and Bach.[4] One of his songs was taken up by the University of Dublin Choral Society and was well received.[9]
In the 1860s Dublin received occasional visits from international stars, and Stanford was able to hear famous performers such as Joseph Joachim, Henri Vieuxtemps and Adelina Patti.[10] The annual visit of the Italian Opera Company from London, led by Giulia Grisi, Giovanni Matteo Mario and later Thérèse Tietjens, gave Stanford a taste for opera that remained with him all his life.[n 2] When he was ten, his parents took him to London for the summer, where he stayed with his mother's uncle in Mayfair.[12] While there he took composition lessons from the composer and teacher Arthur O'Leary,[13] and piano lessons from Ernst Pauer, professor of piano at the Royal Academy of Music (RAM).[14] On his return to Dublin, his godmother having left Ireland, he took lessons from Henrietta Flynn, another former Leipzig Conservatory pupil of Moscheles,[14] and later from Robert Stewart, organist of St Patrick's Cathedral, as well as from a third Moscheles pupil, Michael Quarry.[15] During his second spell in London two years later, he met the composer Arthur Sullivan and the musical administrator and writer George Grove, who later played important parts in his career.[4]
John Stanford hoped that his son would follow him into the legal profession but accepted his decision to pursue music as a career.[16] However, he stipulated that Stanford should have a conventional university education before going on to musical studies abroad.[16] Stanford tried unsuccessfully for a classics scholarship at Trinity Hall, Cambridge,[17] but gained an organ scholarship, and later a classics scholarship, at Queens' College. By the time he went up to Cambridge in 1870 he had written a substantial number of compositions, including vocal music, both sacred and secular, and orchestral works (a rondo for cello and orchestra and a concert overture).[1]
Stanford immersed himself in the musical life of the university to the detriment of his Latin and Greek studies.[18] He composed religious and secular vocal works, a piano concerto, and incidental music for Longfellow's play A Spanish Student.[1] In November 1870 he appeared as piano soloist with the Cambridge University Musical Society (CUMS), and quickly became its assistant conductor and a committee member.[19] The society had declined in excellence since its foundation in 1843.[20] Its choir consisted solely of men and boys; the lack of women singers severely limited the works that the society could present.[4] Stanford was unable to persuade the members to admit women, and so he staged what The Musical Times called "a bloodless revolution".[4] In February 1872 he co-founded a mixed choir, the Amateur Vocal Guild, whose performances immediately put those of the CUMS singers in the shade.[21] The members of CUMS rapidly changed their minds, and agreed to a merger of the two choirs, with women given associate membership of the society.[22]
The conductor of the combined choir was John Larkin Hopkins, who was also organist of Trinity College. He became ill and handed over the conductorship to Stanford in 1873.[23] Stanford was also appointed Hopkins's deputy organist at Trinity, and moved from Queens' to Trinity in April 1873.[24] In the summer of that year Stanford made his first trip to continental Europe. He went to Bonn for the Schumann Festival held there, where he met Joachim and Brahms.[25] His growing love of the music of Schumann and Brahms marked him as a classicist at a time when many music-lovers were divided into the classical or the modernist camps, the latter represented by the music of Liszt and Wagner.[25] Stanford was not constrained by the fashion for belonging to one camp or the other; he immensely admired Die Meistersinger though he was unenthusiastic about some of Wagner's other works.[26] After leaving Bonn he returned home by way of Switzerland and then Paris, where he saw Meyerbeer's Le prophète.[25]
Hopkins's illness proved fatal, and after his death the Trinity authorities invited Stanford to take over as organist of the college.[1] He accepted with the proviso that he was to be released each year for a spell of musical study in Germany. The fellows of the college resolved on 21 February 1874:
Charles Villiers Stanford (undergraduate of the College) be appointed organist at a salary of £100 p. a. for the next two years in addition to rooms and Commons when in residence. The organist to be allowed to be abroad during the two years mentioned for one term and the vacations for the purpose of studying music in Germany, the college undertaking to find a substitute in his absence.[27]
Two days after his appointment, Stanford took the final examinations for his classics degree. He ranked 65th of 66, and was awarded a third-class degree.[18]
On the recommendation of Sir William Sterndale Bennett, former professor of music at Cambridge and now director of the Royal Academy of Music, Stanford went to Leipzig in the summer of 1874 for lessons with Carl Reinecke, professor of composition and piano at the Leipzig Conservatory.[28] The composer Thomas Dunhill commented that by 1874 it was "the tail-end of the Leipzig ascendancy, when the great traditions of Mendelssohn had already begun to fade."[29] Nevertheless, Stanford did not seriously consider studying anywhere else. Neither Dublin nor London offered any comparable musical training; the most prestigious British music school, the Royal Academy of Music (RAM), was at that time hidebound and reactionary.[30] He was dismayed to find in Leipzig that Bennett had recommended him to a German pedant no more progressive than the teachers at the RAM.[30] Stanford said of Reinecke, "Of all the dry musicians I have ever known he was the most desiccated. He had not a good word for any contemporary composer... He loathed Wagner ... sneered at Brahms and had no enthusiasm of any sort."[31] Stanford's biographer Paul Rodmell suggests that Reinecke's ultra-conservatism may have been unexpectedly good for his pupil "as it may have encouraged Stanford to kick against the traces."[32] During his time in Leipzig Stanford took piano lessons from Robert Papperitz (1826–1903), organist of the city's Nikolaikirche, whom he found more helpful.[31]
Among Stanford's compositions in 1874 was a setting of part one of Longfellow's poem The Golden Legend. He intended to set the entire poem, but gave up, defeated by Longfellow's "numerous but unconnected characters."[33][n 3] Stanford ignored this and other early works when assigning opus numbers in his mature years. The earliest compositions in his official list of works are a four-movement Suite for piano and a Toccata for piano, which both date from 1875.[35]
After a second spell in Leipzig with Reinecke in 1875, which was no more productive than the first, Stanford was recommended by Joachim to study in Berlin the following year with Friedrich Kiel, whom Stanford found "a master at once sympathetic and able ... I learnt more from him in three months, than from all the others in three years."[36]
Rising composer[edit]
Returning to Cambridge in the intervals of his studies in Germany, Stanford resumed his work as conductor of CUMS. He found the society in good shape under his deputy, Eaton Faning,[37] and able to tackle demanding new works.[38] In 1876 the society presented one of the first performances in Britain of the Brahms Requiem.[38] In 1877 CUMS came to national attention when it presented the first British performance of Brahms's First Symphony.[13]
During the same period, Stanford was becoming known as a composer. He was composing prolifically, though he later withdrew some of his works from these years, including a violin concerto which, according to Rodmell, suffered from "undistinguished thematic material".[39] In 1875 his First Symphony won the second prize in a competition held at the Alexandra Palace for symphonies by British composers, although he had to wait a further two years to hear the work performed.[40][n 4] In the same year Stanford directed the first performance of his oratorio The Resurrection, given by CUMS.[13] At the request of Alfred Tennyson, he wrote incidental music for Tennyson's drama Queen Mary, performed at the Lyceum Theatre, London in April 1876.[13]
In April 1878, despite the disapproval of his father, Stanford married Jane Anna Maria Wetton, known as Jennie, a singer whom he had met when she was studying in Leipzig.[42] She was the daughter of Henry Champion Wetton of Joldwynds in Surrey, who had died in 1870.[43] They had a daughter, Geraldine Mary, born in 1883, and a son, Guy Desmond, born in 1885.[44]
In 1878 and 1879 Stanford worked on his first opera, The Veiled Prophet, to a libretto by his friend William Barclay Squire. It was based on a poem by Thomas Moore with characters including a virgin priestess and a mystic prophet, and a plot that culminates in poisoning and stabbing.[45] Stanford offered the work to the opera impresario Carl Rosa, who refused it and suggested that the composer should try to have it staged in Germany: "Its success will (unfortunately) have much greater chances here if accepted abroad." Referring to the enormous popularity of Sullivan's comic operas, Rosa added, "If the work was of the Pinafore style it would be quite another matter."[46] Stanford had greatly enjoyed Sullivan's Cox and Box,[47] but The Veiled Prophet was intended to be a serious work of high drama and romance.[48] Stanford had made many useful contacts during his months in Germany, and his friend the conductor Ernst Frank got the piece staged at the Königliches Schauspiel in Hanover in 1881.[49] Reviewing the premiere for The Musical Times, Stanford's friend J A Fuller Maitland wrote, "Mr. Stanford's style of instrumentation ... is built more or less on that of Schumann; while his style of dramatic treatment bears more resemblance to Meyerbeer than to that of any other master."[45][n 5] Other reviews were mixed,[51] and the opera had to wait until 1893 for its English premiere.[52] Stanford nevertheless continued to seek operatic success throughout his career.[53] In his lifelong enthusiasm for opera he differed strikingly from his contemporary Hubert Parry, who made one attempt at composing opera and then renounced the genre.[54]
By the early 1880s, Stanford was becoming a major figure in the British musical scene. His only major rivals were seen as Sullivan, Frederic Hymen Cowen, Parry, Alexander Mackenzie and Arthur Goring Thomas.[53] Sullivan was by this time viewed with suspicion in high-minded musical circles for composing comic rather than grand operas;[53] Cowen was regarded more as a conductor than as a composer; and the other three, though seen as promising, had not so far made a clear mark as Stanford had done.[53] Stanford helped Parry in particular to gain recognition, commissioning incidental music from him for a Cambridge production of Aristophanes' The Birds and a symphony (the "Cambridge") for the musical society.[54] At Cambridge Stanford continued to raise the profile of CUMS, as well as his own, by securing appearances by leading international musicians including Joachim, Hans Richter, Alfredo Piatti and Edward Dannreuther. The society attracted further attention by premiering works by Cowen, Parry, Mackenzie, Goring Thomas and others.[1] Stanford was also making an impression in his capacity as organist of Trinity, raising musical standards and composing what his biographer Jeremy Dibble calls "some highly distinctive church music" including a Service in B♭ (1879), the anthem "The Lord is my shepherd" (1886) and three Latin motets including Beati quorum via (1888).[1]
In the first half of the 1880s, Stanford collaborated with the author Gilbert à Beckett on two operas, Savonarola, and The Canterbury Pilgrims. The former was well received at its premiere in Hamburg in April 1884, but received a critical savaging when staged at Covent Garden in July of the same year.[53] Parry commented privately, "It seems very badly constructed for the stage, poorly conceived and the music, though clean and well-managed, is not striking or dramatic."[53] The most severe public criticism was in The Theatre,[53] whose reviewer wrote, "The book of Savonarola is dull, stilted, and, from a dramatic point of view, weak. It is not, however, so crushingly tiresome as the music fitted to it. Savonarola has gone far to convince me that opera is quite out of [Stanford's] line and that the sooner he abandons the stage for the cathedral, the better for his musical reputation."[55] The Canterbury Pilgrims had been premiered in London in April 1884, three months before Savonarola was presented at Covent Garden.[53] It had a better reception than the latter, though reviews pointed out Stanford's debt to Die Meistersinger, and complained of a lack of emotion in the love music.[56] George Grove agreed with the critics, writing to Parry, "Charlie's music contains everything but sentiment. Love not at all – that I heard not a grain of. ... And I do think that there might be more tune. Melody is not a thing to be avoided surely."[53] In 1896 a critic wrote that the opera had "just such a 'book' as would have suited the late Alfred Cellier. He would probably have made of it a charming light English opera. But Dr. Stanford has chosen to use it for the exemplification of those advanced theories which we know him to hold, and he has given us music which would incline us to think that Die Meistersinger had been his model. The effect of the combination is not happy."[57]
In 1883, the Royal College of Music was set up to replace the short-lived and unsuccessful National Training School for Music (NTSM).[58] Neither the NTSM nor the longer-established Royal Academy of Music had provided adequate musical training for professional orchestral players,[n 6] and the founder-director of the college, George Grove, was determined that the new institution should succeed in doing so.[58] His two principal allies in this undertaking were the violinist Henry Holmes and Stanford. In a study of the founding of the college, David Wright notes that Stanford had two main reasons for supporting Grove's aim. The first was his belief that a capable college orchestra was essential to give students of composition the chance to experience the sound of their music. His second reason was the severe contrast between the competence of German orchestras and the performance of their British counterparts.[58] He accepted Grove's offer of the posts of professor of composition and (with Holmes) conductor of the college orchestra.[58] He held the professorship for the rest of his life; among the best known of his many pupils were Samuel Coleridge-Taylor, Gustav Holst, Ralph Vaughan Williams, John Ireland, Rebecca Clarke,[59] Frank Bridge and Arthur Bliss.[13][n 7] Rated by Stanford as his most talented student was the English pianist and composer William Hurlstone.[70]
Stanford was never an easy-going teacher. He insisted on one-to-one tutorials, and worked his pupils hard. One of them, Herbert Howells, recalled, "Corner any Stanford pupil you like, and ask him to confess the sins he most hated being discovered in by his master. He will tell you 'slovenliness' and 'vulgarity.' When these went into the teacher's room they came out, badly damaged. Against compromise with dubious material or workmanship Stanford stubbornly set his face."[62] Another pupil, Edgar Bainton, recalled:
Stanford's teaching seemed to be without method or plan. His criticism consisted for the most part of "I like it, my boy," or "It's damned ugly, my boy" (the latter in most cases). In this, perhaps, lay its value. For in spite of his conservatism, and he was intensely and passionately conservative in music as in politics, his amazingly comprehensive knowledge of musical literature of all nations and ages made one feel that his opinions, however irritating, had weight.[62]
To Stanford's regret, many of his pupils who achieved eminence as composers broke away from his classical, Brahmsian precepts, as he had himself rebelled against Reinecke's conservatism.[62] The composer George Dyson wrote, "In a certain sense the very rebellion he fought was the most obvious fruit of his methods. And in view of what some of these rebels have since achieved, one is tempted to wonder whether there is really anything better a teacher can do for his pupils than drive them into various forms of revolution."[62] The works of some of Stanford's pupils, including Holst and Vaughan Williams, entered the general repertory in Britain, and to some extent elsewhere, as Stanford's never did.[71] For many years after his death it seemed that Stanford's greatest fame would be as a teacher.[71] Among his achievements at the RCM was the establishment of an opera class, with at least one operatic production every year. From 1885 to 1915 there were 32 productions, all of them conducted by Stanford.[72]
In 1887 Stanford was appointed professor of music at Cambridge in succession to Sir George Macfarren who died in October of that year.[73] Up to this time, the university had awarded music degrees to candidates who had not been undergraduates at Cambridge; all that was required was to pass the university's music examinations. Stanford was determined to end the practice, and after six years he persuaded the university authorities to agree. Three years' study at the university became a prerequisite for sitting the bachelor of music examinations.[1][n 8]
Conductor and composer[edit]
During the last decades of the 19th century, Stanford's academic duties did not prevent him from composing or performing. He was appointed conductor of the Bach Choir, London, in 1885, succeeding its founding conductor Otto Goldschmidt.[76] He held the post until 1902. Hans von Bülow conducted the German premiere of Stanford's Irish Symphony in Hamburg in January 1888, and was sufficiently impressed by the work to programme it in Berlin shortly afterwards.[77] Richter conducted it in Vienna, and Mahler later conducted it in New York.[78][n 9] For the Theatre Royal, Cambridge, Stanford composed incidental music for productions of Aeschylus's The Eumenides (1885), and Sophocles' Oedipus Tyrannos (1887). The Times said of the former, "Mr. Stanford's music is dramatically significant, as well as beautiful in itself. It has, moreover, that quality so rare among modern composers – style."[80] In both sets of music Stanford made extensive use of leitmotifs, in the manner of Wagner; the critic of The Times noted the Wagnerian character of the prelude to Oedipus.[81]
In the 1890s, Bernard Shaw writing as a music critic of The World, voiced mixed feelings about Stanford. In Shaw's view, the best of Stanford's works displayed an uninhibited, Irish, character.[82][83] The critic was dismissive of the composer's solemn Victorian choral music. In July 1891, Shaw's column was full of praise for Stanford's capacity for spirited tunes, declaring that Richard D'Oyly Carte should engage him to succeed Sullivan as the composer of Savoy operas.[84] In October of the same year, Shaw attacked Stanford's oratorio Eden, bracketing the composer with Parry and Mackenzie as a mutual admiration society,[85] purveying "sham classics":
[W]ho am I that I should be believed, to the disparagement of eminent musicians? If you doubt that Eden is a masterpiece, ask Dr Parry and Dr Mackenzie, and they will applaud it to the skies. Surely Dr Mackenzie's opinion is conclusive; for is he not the composer of Veni Creator, guaranteed as excellent music by Professor Stanford and Dr Parry? You want to know who Parry is? Why, the composer of Blest Pair of Sirens, as to the merits of which you only have to consult Dr Mackenzie and Professor Stanford.[86]
To Fuller Maitland, the trio of composers lampooned by Shaw were the leaders of an English musical renaissance (although neither Stanford nor Mackenzie was English).[87] This view persisted in some academic circles for many years.[85]
Stanford returned to opera in 1893, with an extensively revised and shortened version of The Veiled Prophet. It had its British premiere at Covent Garden in July.[88] His friend Fuller Maitland was by this time the chief music critic of The Times, and the paper's review of the opera was laudatory. According to Fuller Maitland The Veiled Prophet was the best novelty of an opera season that had also included Leoncavallo's Pagliacci, Bizet's Djamileh and Mascagni's I Rantzau.[52] Stanford's next opera was Shamus O'Brien (1896), a comic opera to a libretto by George H. Jessop. The conductor was the young Henry Wood, who recalled in his memoirs that the producer, Sir Augustus Harris, managed to quell the dictatorial composer and prevent him from interfering with the staging.[89] Stanford attempted to give Wood lessons in conducting, but the young man was unimpressed.[89] The opera was successful, running for 82 consecutive performances.[n 10] The work was given in German translation in Breslau in 1907;[92] Thomas Beecham thought it "a colourful, racy work", and revived it in his 1910 opéra comique season at His Majesty's Theatre, London.[93]
At the end of 1894, Grove retired from the Royal College of Music. Parry was chosen to succeed him, and although Stanford wholeheartedly congratulated his friend on his appointment,[94] their relations soon deteriorated. Stanford was known as a hot-tempered and quarrelsome man. Grove had written of a board meeting at the Royal College "where somehow the spirit of the d----l himself had been working in Stanford all the time – as it sometimes does, making him so nasty and quarrelsome and contradictious as no one but he can be! He is a most remarkably clever and able fellow, full of resource and power – no doubt of that – but one has to purchase it often at a very dear price."[95] Parry suffered worse at Stanford's hands with frequent rows, deeply upsetting to the highly strung Parry.[82] Some of their rows were caused by Stanford's reluctance to accept the authority of his old friend and protégé, but on other occasions Parry seriously provoked Stanford, notably in 1895 when he reduced the funding for Stanford's orchestral classes.[58]
In 1898, Sullivan, ageing and unwell, resigned as conductor of the Leeds triennial music festival, a post which he had held since 1880.[96] He believed that Stanford's motive for accepting the conductorship of the Leeds Philharmonic Society the previous year was to position himself to take over the festival.[97] Stanford later felt obliged to write to The Times, denying that he had been party to a conspiracy to oust Sullivan.[98] Sullivan was by then thought to be a dull conductor of other composers' music,[99] and although Stanford's work as a conductor was not without its critics,[100] he was appointed in Sullivan's place.[n 11] He remained in charge until 1910. His compositions for the festival included Songs of the Sea (1904), Stabat Mater (1907) and Songs of the Fleet (1910).[13] New works by other composers presented at Leeds during Stanford's years in charge included pieces by Parry, Mackenzie, and seven of Stanford's former pupils.[n 12] The best-known new work from Stanford's time is probably Vaughan Williams's A Sea Symphony, premiered in 1910.[108]
20th century[edit]
In 1901 Stanford returned once again to opera, with Much Ado About Nothing, to a libretto by Julian Sturgis that was exceptionally faithful to Shakespeare's original.[109] The Manchester Guardian commented, "Not even in the Falstaff of Arrigo Boito and Giuseppe Verdi have the characteristic charm, the ripe and pungent individuality of the original comedy been more sedulously preserved."[110]
Despite good notices for the opera, Stanford's star was waning. In the first decade of the century, his music became eclipsed by that of a younger composer, Edward Elgar.[111] In the words of the music scholar Robert Anderson, Stanford "had his innings with continental reputation in the latter decades of the nineteenth century, but then Elgar bowled him out."[82] When Elgar was struggling for recognition in the 1890s, Stanford had been supportive of his younger colleague, conducting his music, putting him forward for a Cambridge doctorate, and proposing him for membership of the exclusive London club, the Athenaeum.[82] He was, however, put out when Elgar's success at home and abroad eclipsed his own, with Richard Strauss (whom Stanford detested) praising Elgar as the first progressive English composer.[112] When Elgar was appointed professor of music at Birmingham University in 1904, Stanford wrote him a letter that the recipient found "odious".[n 13] Elgar retaliated in his inaugural lecture with remarks about composers of rhapsodies, widely seen as denigrating Stanford.[113] Stanford later counter-attacked in his book A History of Music, writing of Elgar, "Cut off from his contemporaries by his religion and his want of regular academic training, he was lucky enough to enter the field and find the preliminary ploughing done."[114]
Though bitter about being sidelined, Stanford continued to compose.[13] Between the turn of the century and the outbreak of the First World War in 1914 his new works included a violin concerto (1901), a clarinet concerto (1902), a sixth and a seventh (and last) symphony (1906 and 1911), and his second piano concerto (1911).[1] In 1916 he wrote his penultimate opera, The Critic. It was a setting of Sheridan's comedy of the same name, with the original text left mostly intact by the librettist, L. Cairns James.[115] The work was well received at the premiere at the Shaftesbury Theatre, London, and was taken up later in the year by Beecham, who staged it in Manchester and London.[116]
Last years[edit]
The First World War had a severe effect on Stanford. He was frightened by air raids, and had to move from London to Windsor to avoid them.[62] Many of his former pupils were casualties of the fighting, including Arthur Bliss, wounded, Ivor Gurney, gassed, and George Butterworth, killed.[117] The annual RCM operatic production, which Stanford had supervised and conducted every year since 1885, had to be cancelled.[62] His income declined, as the fall in student numbers at the college reduced the demand for his services.[118] After a serious disagreement at the end of 1916, his relationship with Parry deteriorated to the point of hostility.[54] Stanford's magnanimity, however, came to the fore when Parry died two years later and Stanford successfully lobbied for him to be buried in St Paul's Cathedral.[54]
After the war, Stanford handed over much of the direction of the RCM's orchestra to Adrian Boult, but continued to teach at the college.[119] He gave occasional public lectures, including one on "Some Recent Tendencies in Composition", in January 1921 which was belligerently hostile to most of the music of the generation after his own.[120] His last public appearance was on 5 March 1921 conducting Frederick Ranalow and the Royal Choral Society in his new cantata, At the Abbey Gate.[13] Reviews were polite but unenthusiastic. The Times said, "we could not feel that the music had enough emotion behind it",[121] The Observer thought it "quite appealing even though one feels it to be more facile than powerful."[122]
In September 1922, Stanford completed the sixth Irish Rhapsody, his final work.[123] Two weeks later he celebrated his 70th birthday; thereafter his health declined.[123] On 17 March 1924 he suffered a stroke and on 29 March he died at his home in London, survived by his wife and children. He was cremated at Golders Green Crematorium on 2 April and his ashes were buried in Westminster Abbey the following day.[124] The orchestra of the Royal College of Music, conducted by Boult, played music by Stanford, ending the service with a funeral march that he had written for Tennyson's Becket in 1893.[125] The grave is in the north choir aisle of the Abbey, near the graves of Henry Purcell, John Blow and William Sterndale Bennett.[126] The Times said, "the conjunction of the music of Stanford with that of his great predecessors showed how thoroughly as composer he belonged to their line".[127]
Stanford's last opera, The Travelling Companion, composed during the war, was premiered by amateur performers at the David Lewis Theatre, Liverpool in 1925 with a reduced orchestra.[128] The work was given complete at Bristol in 1928 and at Sadler's Wells Theatre, London, in 1935.[129]
Stanford received many honours, including honorary doctorates from Oxford (1883), Cambridge (1888), Durham (1894), Leeds (1904), and Trinity College, Dublin (1921).[13] He was knighted in the 1902 Coronation Honours,[130] receiving the accolade from King Edward VII at Buckingham Palace on 24 October that year.[131] In 1904 he was elected a member of the Prussian Academy of Arts, Berlin.[13]
In Stanford's music the sense of style, the sense of beauty, the feeling of a great tradition is never absent. His music is in the best sense of the word Victorian, that is to say it is the musical counterpart of the art of Tennyson, Watts and Matthew Arnold.
Stanford composed about 200 works, including seven symphonies, about 40 choral works, nine operas, 11 concertos and 28 chamber works, as well as songs, piano pieces, incidental music, and organ works.[132] He suppressed most of his earliest compositions; the earliest of works that he chose to include in his catalogue date from 1875.[133]
Throughout his career as a composer, Stanford's technical mastery was rarely in doubt. The composer Edgar Bainton said of him, "Whatever opinions may be held upon Stanford's music, and they are many and various, it is, I think, always recognised that he was a master of means. Everything he turned his hand to always 'comes off.'"[62] On the day of Stanford's death, one former pupil, Gustav Holst, said to another, Herbert Howells, "The one man who could get any one of us out of a technical mess is now gone from us."[134]
After Stanford's death most of his music was quickly forgotten, with the exception of his works for church performance. His Stabat Mater and Requiem held their place in the choral repertoire, the latter championed by Sir Thomas Beecham.[135] Stanford's two sets of sea songs and the partsong The Blue Bird were still performed from time to time, but even his most popular opera, Shamus O'Brien came to seem old fashioned with its "stage-Irish" vocabulary.[135] However, in his 2002 study of Stanford, Dibble writes that the music, increasingly available on disc if not in live performance, still has the power to surprise. In Dibble's view, the frequent charge that Stanford is "Brahms and water" was disproved once the symphonies, concertos, much of the chamber music and many of the songs became available for reappraisal when recorded for compact disc.[136] In 2002, Rodmell's study of Stanford included a discography running to 16 pages.[137]
The criticism most often made of Stanford's music by writers from Shaw onwards is that his music lacks passion.[138] Shaw praised "Stanford the Celt" and abominated "Stanford the Professor", who reined in the emotions of the Celt.[138] In Stanford's church music, the critic Nicholas Temperley finds "a thoroughly satisfying artistic experience, but one that is perhaps lacking in deeply felt religious impulse."[139] In his operas and elsewhere, Grove, Parry and later commentators found music that ought to convey love and romance failing to do so.[140] Like Parry, Stanford strove for seriousness, and his competitive streak led him to emulate Sullivan not in comic opera, for which Stanford had a real gift,[141] but in oratorio in what Rodmell calls grand statements that "only occasionally matched worthiness with power or profundity."[142]
The commentator Richard Whitehouse writes that Stanford's seven symphonies embody both the strengths and limitations of his music, displaying "a compositional rigour and expertise matched only by his older contemporary ... Parry, while seeming content to remain well within the stylistic ambit of Mendelssohn, Schumann and Brahms." Whitehouse comments that although Stanford's symphonic construction is conventional, "an often subtle approach to movement forms and resourceful orchestration make his symphonies worth exploring."[143]
Stanford's first two symphonies (1876 and 1879) were not published and were excluded from his catalogue of works. His Symphony No. 1 was written for a competition offered by the proprietors of the Alexandra Palace. It received second prize but was only performed once in his lifetime.[144]
The Third Symphony in F minor, known as the Irish, was first performed in 1887.[n 14] It was conducted by Mahler in 1911 in New York (Stanford however did not reciprocate, disliking most 'modern' music, especially Ravel, Debussy and Stravinsky), and the Third remained the most popular of Stanford's symphonies during his lifetime.[143] In his study of Stanford's works, John Porte refers to it as "full of the spirit and tunes of his country ... with its contrasting expressions of jollity and sad beauty."[146] In this, as in many of his works, Stanford incorporated genuine Irish folk tunes. Like Parry and Mackenzie, but unlike Sullivan and Elgar, Stanford liked and respected folk songs.[147][n 15]
He generally avoided programmatic music, but his Sixth Symphony, composed in memoriam G. F. Watts, was, Stanford acknowledged, inspired by Watts's sculptures and paintings.[150]
Of Stanford's other orchestral works, his six Irish Rhapsodies all date from the 20th century, the first from 1901 and the last from the year before his death. Two of the set feature solo instruments along with the orchestra: the third (cello) and the sixth (violin).[151] In Dibble's view some of the concertante works such as the First Piano Concerto (1894) and the Violin Concerto of 1899[n 16] are in their orchestration and their lyricism as much in the tradition of Mendelssohn as of Brahms, with whom Stanford's music is often compared.[1]
Chamber works[edit]
Stanford's chamber music, which as Dibble notes even Shaw praised, has not entered the general repertoire, but is well crafted.[1] Dibble singles out the Three Intermezzi for clarinet and piano (1879), the Serenade (Nonet) of 1905, and the Clarinet Sonata (1911) with its touching lament.[1] Dibble writes that while his Violin Sonata No. 1 was still influenced by Beethoven and Schumann, his Violin Sonata No. 2, composed c. 1898 after studies in Germany including works by Brahms, in "seamless sonata construction gives the impression of a free form".[152] Writing of the First String Quintet, Porte calls it a sonorous and warm-hearted sort of work, constructed on fairly classical lines, and notes that the character and construction are typical of the composer. Porte comments similarly on other chamber works, including the Second Piano Trio: "This is a typical Stanfordian work. It is sonorously scored, classical in outlook, and contains many passages of an expressive and somewhat poetical freshness. There are no very special features to note, but the work is one that makes a useful and interesting item."[153]
Church music[edit]
While much of Stanford's music has been forgotten, many of his ecclesiastical works have retained a higher profile. In Music in Britain, one of the few books to deal with Stanford's music in detail,[154] Nicholas Temperley writes that it is due to Stanford that settings of the Anglican church services regained their "full place beside the anthem as a worthy object of artistic invention."[155] Vaughan Williams ranked the Stabat Mater as one of Stanford's works of "imperishable beauty".[62] In Temperley's view, Stanford's services in A (1880), F (1889) and C (1909) are the most important and enduring additions from those years to the cathedral repertory.[139] As with his concert works, Stanford's music is dominated by melody. The bass line, in Rodmell's view, is always important yet secondary and anything in between was regarded as "filling".[156]
In a 1981 survey of Stanford's operas, the critic Nigel Burton writes that Shamus O'Brien lacks good tunes, and that the only memorable melody in it is not by Stanford but is an English folk song, "The Glory of the West".[50] Burton is more dismissive of The Critic, which he describes as "a poor man's Ariadne auf Naxos".[50] Dibble rates The Critic much higher, considering it to be one of Stanford's two best operas.[1] In 1921, Porte wrote that it contains music that is "remarkably fresh, melodious and thoroughly individual in character and outlook. The vocal and instrumental writing is done with consummate skill."[157] Burton praises Much Ado About Nothing, judging it to contain some of Stanford's best operatic music. He rates the last of the composer's operas, The Travelling Companion as his finest operatic achievement, though Burton credits much of its power to the brilliant story adapted by Henry Newbolt from Hans Andersen.[50] Porte writes that the music is often solemn and romantic, and curiously impressive.[158] Christopher Webber writes that it has "an atmosphere not quite like any other: The Travelling Companion has timeless qualities ... [which] could go far to enhance Stanford's reputation as an opera composer".[159]
Although much of Stanford's music is neglected in the concert hall, a considerable amount has been recorded. Complete cycles of the symphonies have been issued by the Chandos and Naxos labels, under the conductors Vernon Handley and David Lloyd-Jones. Other orchestral works recorded for CD include the six Irish Rhapsodies, the Clarinet Concerto, the Second Piano Concerto and the Second Violin Concerto.[137] Of the nine operas, only The Travelling Companion is available in a complete performance.[160]
Stanford's church music is well represented on disc. In his 2002 discography, Rodmell lists 14 versions of the Service in B♭, alongside multiple recordings of the Services in A, F and C, the Three Latin Motets Op. 38, and the composer's setting of "The Lord is my Shepherd".[137] A 1926 disc of his Magnificat in G by Choir of St George's Chapel, Windsor Castle was the first recording of a boy soprano soloist using an electrical microphone.[161][162] His Mass in G Major received its world première recording in 2014, featuring the Choir of Exeter College Oxford and the Stapeldon Sinfonia, with Tim Muggeridge (organ) and directed by George de Voil: EMR CD021.
English mixed-voice choir the Cambridge Singers (conducted by John Rutter) released the album Stanford and Howells Remembered in 1992, including both sacred and secular works. It was remastered and re-released in 2020.[163] The first CD dedicated to Stanford's partsongs (including the Op. 119 set to poems by Mary Coleridge) appeared in 2013, sung by the Birmingham Conservatoire Chamber Choice, conductor Paul Spicer.[164] He wrote around 60 partsongs in total.
Stanford also wrote some 200 art songs and around 300 folksongs intended for the concert hall.[165] Songs recorded by several artists include "La Belle Dame Sans Merci", performed by Janet Baker among others, "An Irish Idyll", whose interpreters have included Kathleen Ferrier, and Songs of the Sea in recordings by such singers as Thomas Allen.[137] Two more recent recordings dedicated to the songs have been issued: Love's White Flame, with Elisabetta Paglia (mezzo-soprano) and Christopher Howell (piano) in 2020;[166] and Songs of Faith, Love and Nonsense, with James Way (tenor), Roderick Williams (baritone) and Andrew West (piano) in 2021.[167]
Among the chamber works that have received several recordings are the Three Intermezzi for Clarinet and Piano and the Clarinet Sonata. All eight of the previously neglected string quartets have now been recorded, as have the two string quintets.[168] The first significant recording of piano works included the Three Rhapsodies (alongside Parry's Shulbrede Tunes) in 1978 by John Parry.[169] Peter Jacobs recorded both sets of 24 Preludes, the Characteristic Pieces and the Dante Rhapsodies in the late 1990s.[170] Christopher Howell has since recorded the complete piano music.[171]
The Stanford Society[edit]
The Charles Villiers Stanford Society was founded in 2007 by a small group of music enthusiasts and academics including John Covell and Professor Jeremy Dibble, Stanford biographer. The society was formed to promote further interest and research into Stanford's works and life, and to support and encourage performances and recordings of some less well-known works by the composer.[172]
The society has supported a number of first performances and recordings of Stanford's works. These include a world premiere recording of Stanford's last opera The Travelling Companion Op.146, dating from 1916.[173]
- ^ Stanford wrote of his father's bass voice that it had "a compass from high F to low C ... one of the finest in quality and style that I have heard anywhere. He studied with Crivelli and in Paris, spoke Italian like a native, and in more than one respect resembled (in the opinion of those best competent to judge) his half-countryman Lablache ... his capabilities of interpretation ranged from oratorios to the most patter buffo which he tossed off with the ease and fluency of an Italian."[5]
- ^ In his memoirs, Stanford listed the operas he heard performed by the company in Dublin. They were The Marriage of Figaro, The Magic Flute (in Italian as Il flauto magico), Fidelio, The Barber of Seville, Les deux journées, Robert le diable, Les Huguenots, Der Freischütz, Oberon, La fille du régiment (in Italian as La figlia del reggimento), Lucrezia Borgia, La traviata, Rigoletto, Hamlet, Faust and Mireille.[11]
- ^ Reviewing Sullivan's setting of the poem in 1888, Stanford admitted the difficulty of selecting the important parts of what he then called a "long, and it must be admitted, rambling" poem, and applauded the efforts of Sullivan's librettist Joseph Bennett.[34]
- ^ The two judges were Sir George Macfarren, professor of music at Cambridge, and Joachim.[41]
- ^ The critic Nigel Burton in a 1981 study of Stanford's operas dismisses as "quite erroneous" Fuller Maitland's supposition that the work owes anything to Meyerbeer.[50]
- ^ In 1870 it was estimated that fewer than ten per cent of professional instrumentalists in London had studied at the Royal Academy.[58]
- ^ Among Stanford's other pupils were the composers Edgar Bainton,[60] Arthur Benjamin,[1] Rutland Boughton,[13] Herbert Brewer,[61] George Butterworth,[1] Walford Davies,[13] Thomas Dunhill,[62] George Dyson,[13] Ivor Gurney,[1] Herbert Howells,[13] William Hurlstone,[1] Gordon Jacob,[63] E J Moeran,[1] Lloyd Powell,[64] Cyril Rootham,[65] Arthur Somervell,[66] and Charles Wood (who succeeded him as professor at Cambridge).[67] Pupils later well known as conductors included Eugene Goossens,[1] Leslie Heward,[68] and Leopold Stokowski.[69]
- ^ Cambridge was the first English university to abolish non-residential music degrees,[74] but the practice continued at other universities well into the 20th century. In 1914 Malcolm Sargent received a bachelor of music degree from Durham University without ever studying there, visiting Durham only to sit the examinations, and in 1919 qualified as a doctor of music from the same university by the same means.[75]
- ^ Mahler's willingness to programme Stanford's music was not reciprocated. Rodmell comments that as a conductor Stanford generally ignored the works of Mahler, as well as those of Debussy, Ravel and Stravinsky.[79]
- ^ In his memoirs Wood states that the opera ran for more than 100 performances, but his biographer, Arthur Jacobs gives the lower figure.[90] The run opened on 2 March and ended on 23 May 1896.[91]
- ^ Stanford had consolidated his position in Leeds by composing a Te Deum for the 1898 festival; Sullivan, by contrast, disappointed the festival committee by his inability to compose a new work that year.[101] Stanford's work was praised by the music critics; The Musical Times thought it of similar excellence to that of his earlier Requiem, and remarked on its striking combination of "Teutonic sobriety and intellectuality [with] a distinct feeling of Latin sensuousness."[102] Nevertheless it was not Stanford's work that attracted the most attention at the 1898 festival; that distinction went to Elgar's Caractacus.[103]
- ^ The former pupils represented were Coleridge-Taylor and Charles Wood (1901);[104] Walford Davies (1904);[105] Brewer, Boughton and Somervell (1907);[106] and Vaughan Williams (1910).[107]
- ^ The letter does not survive, and it is not known what Stanford wrote that so upset Elgar.[82]
- ^ Arthur Sullivan had written a symphony generally known as the Irish in 1866, but had never formally given it that title. According to Porte, "after Mendelssohn's Scotch Symphony he did not like to entitle his own work in the same style, but if he had known that Stanford was going to publish a symphony entitled the Irish, he would have knocked modesty on the head and entitled his own."[145]
- ^ Stanford was a vice-president of the Folk Song Society;[148] in 1906 he edited and published The National Song Book: A Complete Collection of the Folk Songs, Carols and Rounds Suggested by the Board of Education.[149]
- ^ This is the second of his three violin concertos. The first, from his Leipzig years, is unnumbered; it pre-dates by three years the concerto in the same key by Brahms.
- ^ a b c d e f g h i j k l m n o p q r Dibble, Jeremy. "Stanford, Sir Charles Villiers", Grove Music Online, Oxford Music Online, accessed 11 December 2011 (subscription required)
- ^ "Stanford, Sir Charles Villiers", Who Was Who, A & C Black, 1920–2008; online edition, Oxford University Press, December 2007, accessed 11 December 2011 (subscription required)
- ^ Rodmell, p. 9
- ^ a b c d e f "Charles Villiers Stanford", The Musical Times and Singing Class Circular, Vol. 39, No. 670 (December 1898), pp. 785–793 (subscription required)
- ^ Stanford (1914), pp. 27–28
- ^ Willeby, p. 264
- ^ Stanford (1914), p. 58
- ^ Rodmell, p. 28
- ^ "University of Dublin Choral Society", Freeman's Journal and Daily Commercial Advertiser, 16 February 1867, p. 3
- ^ Stanford (1914), pp. 61–62
- ^ Stanford (1914), p. 91
- ^ Stanford (1914), p. 70
- ^ a b c d e f g h i j k l m n Firman, Rosemary. "Stanford, Sir Charles Villiers (1852–1924)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 11 December 2011 (subscription required)
- ^ a b Dibble, p. 25
- ^ Stanford (1914), p. 75
- ^ a b Stanford (1914), p. 103
- ^ Stanford (1914), p. 105
- ^ a b Rodmell, p. 39
- ^ Porte, p. 9
- ^ Dibble, p. 48
- ^ Dibble, pp. 48–49
- ^ Stanford (1914), p. 115
- ^ Rodmell, p. 37
- ^ Rodmell, p. 38
- ^ a b c Dibble, p. 51
- ^ Rodmell, p. 49
- ^ Dibble, p. 56
- ^ Dibble, p. 38
- ^ Dunhill, Thomas. "Charles Villiers Stanford – Some Aspects of His Work and Influence", Proceedings of the Musical Association, 53rd Session. (1926–1927), pp. 41–65 (subscription required)
- ^ a b Rodmell, p. 44
- ^ a b Stanford (1914), p. 157
- ^ Rodmell, p. 45
- ^ Dibble, p. 66
- ^ Stanford (1908), p. 158
- ^ Porte, pp. 15–16
- ^ Stanford (1914), pp. 164 and 172
- ^ Dibble, p. 68
- ^ a b Stanford (1914), p. 166
- ^ Rodmell, p. 51
- ^ Dibble, p. 78
- ^ "Variorum Notes", The Examiner, 22 April 1876, p. 468
- ^ Rodmell, p. 63
- ^ Dibble, pp. 84–86
- ^ Rodmell, pp. 90 and 114
- ^ a b Fuller Maitland, J A. "Mr. Stanford's Opera, 'The Veiled Prophet of Khorassan'", The Musical Times and Singing Class Circular, Vol. 22, No. 457 (March 1881), pp. 113–116 (subscription required)
- ^ Rodmell, p. 67
- ^ Stanford (1914), p. 108
- ^ Porte, p. 138; and Rodmell, p. 79
- ^ Dibble, p. 111
- ^ a b c d Burton, p. 349
- ^ Dibble, p. 112
- ^ a b "The Opera", The Times, 27 July 1893, p. 11
- ^ a b c d e f g h i Rodmell, Paul. "A Tale of Two Operas: Stanford's 'Savonarola' and 'The Canterbury Pilgrims' from Gestation to Production", Music & Letters, Vol. 78, No. 1 (February 1997), pp. 77–91 (subscription required)
- ^ a b c d Dibble, Jeremy. "Parry, Sir (Charles) Hubert Hastings, baronet (1848–1918)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 18 December 2011 (subscription required)
- ^ "Savonarola", The Theatre, 1 August 1884, p. 79
- ^ The Era, 3 May 1884, p. 10; and The Morning Post, 1 May 1884, p. 3
- ^ Willeby, pp. 293–294
- ^ a b c d e f Wright, David. "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century", Journal of the Royal Musical Association, Vol. 130, No. 2 (2005), pp. 236–282 (subscription required)
- ^ Ponder, Michael. "Clarke, Rebecca Helferich (1886–1979)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 21 December 2011 (subscription required)
- ^ Jones, Michael. "Bainton, Edgar Leslie (1880–1956)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 21 December 2011 (subscription required)
- ^ Dibble, Jeremy, "Brewer, Sir (Alfred) Herbert (1865–1928)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 21 December 2011 (subscription required)
- ^ a b c d e f g h i j Davies, Walford et al. "Charles Villiers Stanford, by some of his pupils", Music & Letters, Vol. 5, No. 3 (July 1924), pp. 193–207 (subscription required)
- ^ Wetherell, Eric. "Jacob, Gordon Percival Septimus (1895–1984)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 21 December 2011 (subscription required)
- ^ "Lloyd Powell Adjudicator for Festival", The Spokesman-Review, 18 March 1961, p. 19
- ^ Schaarwächter, Jürgen. "Rootham, Cyril", Grove Music Online. Oxford Music Online, accessed 26 December 2014 (subscription required)
- ^ Dibble, Jeremy. "Somervell, Sir Arthur (1863–1937)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 22 December 2011
- ^ Dibble, Jeremy. "Wood, Charles", Grove Music Online, Oxford Music Online, accessed 21 December 2011 (subscription required)
- ^ Jones, Michael. "Heward, Leslie Hays (1897–1943)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 21 December 2011 (subscription required)
- ^ Holden, Raymond. "Stokowski, Leopold Anthony (1882–1977)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 21 December 2011 (subscription required)
- ^ Dervan, Michael (17 January 2022). Charles Villiers Stanford: More than a teacher of composers, The Irish Times|
- ^ a b O'Connell, Kevin. "Stanford and the Gods of Modern Music", The Musical Times, Vol. 146, No. 1890 (Spring 2005), pp. 33–44 (subscription required)
- ^ Rodmell, p. 306
- ^ Rodmell, p. 134
- ^ Rodmell, p. 173
- ^ Reid, pp. 59–60 and 86
- ^ Rodmell, p. 114
- ^ Walker, p. 386
- ^ Dibble, Jeremy. "Symphony No. 3 in F minor, Op. 28, 'Irish' (1887)", American Symphony Orchestra, accessed 30 December 2011
- ^ Rodmell, p. 346
- ^ "Aeschylus at Cambridge", The Times, 2 December 1885, p. 6
- ^ "Oedipus at Cambridge", The Times, 23 November 1887, p. 6
- ^ a b c d e Anderson, Robert. "Surveying Stanford", The Musical Times, Vol. 144, No. 1882 (Spring, 2003), pp. 48–50 (subscription required)
- ^ Shaw, p. 389
- ^ Shaw, pp. 389–390
- ^ a b Eatock, p. 90
- ^ Shaw, p. 429
- ^ Schaarwächter, p. 53
- ^ "Music", The Observer, 30 July 1893, p. 6
- ^ a b Wood, p. 86
- ^ Jacobs (1994), p. 47
- ^ "Classified Advertising", The Times, 3 March 1896, p. 8 and 12 May 1896, p. 10
- ^ "'Shamus O'Brien' in Germany", The Times, 16 April 1907, p. 8
- ^ Beecham, p. 95
- ^ Rodmell, p. 181
- ^ Rodmell, p. 169
- ^ Young, p. 217
- ^ Ainger, p. 372
- ^ Stanford, C. V. "The Leeds Festival Conductorship", Letters to the Editor, The Times, 26 September 1904, p. 6
- ^ Jacobs (1986), p. 406
- ^ Shaw, pp. 373 and 513; and Rodmell, p. 266
- ^ Jacobs (1986), pp. 381 and 385
- ^ "The Leeds Musical Festival", The Musical Times and Singing Class Circular, Vol. 39, No. 669 (November 1898), pp. 730–732 (subscription required)
- ^ Young, p. 216
- ^ "The Leeds Musical Festival", The Musical Times and Singing Class Circular, Vol. 42, No. 705 (November 1901), pp. 731–734 (subscription required)
- ^ "Leeds Musical Festival", The Musical Times, Vol. 45, No. 741 (November 1904), pp. 730–732 (subscription required)
- ^ "Leeds Musical Festival", The Musical Times, Vol. 48, No. 777 (November 1907), pp. 737–738 (subscription required)
- ^ "The Leeds Festival", The Musical Times, Vol. 51, No. 813 (November 1910), pp. 719–720 and 729 (subscription required)
- ^ Rodmell, pp. 265–266
- ^ "Royal Opera", The Times, 31 May 1901, p. 4
- ^ "Much Ado About Nothing", The Manchester Guardian, 31 May 1901, p. 5
- ^ Gillespie, Elgy. "Charles Villiers Stanford (1852–1924): Brilliant Dublin Boyhood, Cantankerous London Old Age", History Ireland, Vol. 12, No. 3 (Autumn 2004), pp. 24–27
- ^ Reed, p. 61
- ^ Moore, pp. 449 and 459
- ^ Quoted in Moore, p. 700
- ^ "Sir C. Stanford's New Opera", The Times, 8 January 1916, p. 9; and Rodmell, p. 292
- ^ "Opera in Manchester – Sir Thomas Beecham's Enterprise", The Times, 3 June 1916, p. 11; and "Comedy and Criticism",The Times, 23 June 1916, p. 11
- ^ Rodmell, p. 298
- ^ Rodmell, p. 297
- ^ Kennedy, p. 68
- ^ Stanford, Charles Villiers. "On Some Recent Tendencies in Composition", Proceedings of the Musical Association, 47th Sess. (1920–1921), pp. 39–53 (subscription required)
- ^ "At the Abbey Gate", The Times, 7 March 1921, p. 8
- ^ Anderson, W R. "Yesterday's Music", The Observer, 6 March 1921, p. 15
- ^ a b Rodmell, p. 328
- ^ Rodmell, p. 333
- ^ "The Late Sir Charles Stanford", The Times, 3 April 1924, p. 17
- ^ "Sir Charles Villiers Stanford", Westminster Abbey, accessed 8 January 2012
- ^ "Sir Charles Stanford", The Times, 4 April 1924, p. 15
- ^ Bonavia, F. "Stanford's Last Opera: 'The Travelling Companion'", The Musical Times, Vol. 66, No. 988 (June 1925), pp. 523–524 (subscription required)
- ^ McN, W. "The Travelling Companion", The Musical Times, Vol. 76, No. 1107 (May 1935), pp. 456–457 (subscription required)
- ^ "The Coronation Honours". The Times. No. 36804. London. 26 June 1902. p. 5.
- ^ "No. 27494". The London Gazette. 11 November 1902. p. 7165.
- ^ Porte, p. 13
- ^ Porte, pp. 14–15
- ^ Howells, Herbert. "Charles Villiers Stanford (1852–1924). An Address at His Centenary", Proceedings of the Royal Musical Association, 79th Sess. (1952–1953), pp. 19–31 (subscription required)
- ^ a b Dibble, p. 461
- ^ Dibble, p. 464
- ^ a b c d Rodmell, Appendix Two, unnumbered pages
- ^ a b Rodmell, p. 415
- ^ a b Temperley, p. 205
- ^ Rodmell, p. 416
- ^ Rodmell, p. 413
- ^ Rodmell, p. 417
- ^ a b Whitehouse, Richard (2008). Notes to Naxos CD 8.570355, OCLC 227035121
- ^ Schaarwächter, Jürgen (2015). Two Centuries of British Symphonism: From the beginnings to 1945, pp. 213–215. Georg Olms Verlag. ISBN 3487152274
- ^ Porte, p. 32
- ^ Porte, pp. 32–33
- ^ Stradling and Hughes, p. 140
- ^ "List of Members", Journal of the Folk-Song Society, Volume. 1, No. 2 (1900), pp. i–vi (subscription required)
- ^ "The National Song Book", WorldCat, accessed 28 January 2016
- ^ "Concerts", The Times, 19 January 1906, p. 8
- ^ Foreman, Lewis (1987). Notes to Chandos CD CHAN 8545, OCLC 19774048
- ^ Dibble, p. 302
- ^ Porte, p. 69
- ^ Rodmell, p. 414
- ^ Temperley, p. 204
- ^ Rodmell, p. 374
- ^ Porte, p. 107
- ^ Porte, p. 111
- ^ Christopher Webber, 'Charles Villiers Stanford – An Operatic Chameleon', Opera, November 2018, pp.1352–1356
- ^ The Travelling Companion, reviewed at MusicWeb International
- ^ "First electrical recording of a Boy Soprano solo at St George's Windsor 1926". Archive of Recorded Church Music. Retrieved 24 January 2019.
- ^ Choir of St George's Chapel, Windsor (1926), Stanford, Magnificat in G (12" record), Directed by Edmund Fellowes, organist Malcolm Boyle, Columbia Records, 9175
- ^ "Stanford and Howells Remembered: John Rutter and the Cambridge Singers' influential recording returns in expanded format". Robert Hugill. 22 July 2020.
- ^ MusicWeb International
- ^ Da Vinci Classics C00304
- ^ String Quintets, reviewed at MusicWeb International
- ^ Pearl SHE546
- ^ Pearl PRCD449 and Olympia OCD638
- ^ SHEVA SH115, SH125, and SH160
- ^ "About The Stanford Society". The Stanford Society. 3 March 2014. Retrieved 16 April 2022.
- ^ "Discography". The Stanford Society. 16 April 2015. Retrieved 16 April 2022.
- Ainger, Michael (2002). Gilbert and Sullivan – A Dual Biography. Oxford: Oxford University Press. ISBN 0-19-514769-3.
- Beecham, Thomas (1959). A Mingled Chime. London: Hutchinson. OCLC 470511334.
- Burton, Nigel (1981). "Opera 1864–1914". In Nicholas Temperley (ed.). Music in Britain – The Romantic Age 1800–1914. London: Athlone Press. ISBN 0-485-13005-X.
- Dibble, Jeremy (2002). Charles Villiers Stanford: Man and Musician. Oxford: Oxford University Press. ISBN 0-19-816383-5.
- Eatock, Colin (2010). "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance". 19th-Century Music. 34 (1): 87–105. doi:10.1525/ncm.2010.34.1.087. ISSN 0148-2076.
- Jacobs, Arthur (1986). Arthur Sullivan – A Victorian Musician. Oxford: Oxford University Press. ISBN 0-19-282033-8.
- Jacobs, Arthur (1994). Henry J. Wood – Maker of the Proms. London: Methuen. ISBN 0-413-69340-6.
- Kennedy, Michael (1987). Adrian Boult. London: Hamish Hamilton. ISBN 0-333-48752-4.
- Moore, Jerrold N (1984). Edward Elgar: A Creative Life. Oxford: Oxford University Press. ISBN 0-19-315447-1.
- Porte, John F (1921). Sir Charles V. Stanford. London: Kegan Paul. OCLC 222036526.
- Reed, W H (1946). Elgar. London: Dent. OCLC 8858707.
- Reid, Charles (1968). Malcolm Sargent: A Biography. London: Hamish Hamilton. ISBN 0-241-91316-0.
- Rodmell, Paul (2002). Charles Villiers Stanford. Aldershot: Scolar Press. ISBN 1-85928-198-2.
- Schaarwächter, Jürgen (2008). "Chasing a Myth and a Legend: 'The British Musical Renaissance' in a 'Land Without Music'". The Musical Times. 149 (1904 Autumn): 53–59. doi:10.2307/25434554. ISSN 0027-4666. JSTOR 25434554.
- Shaw, Bernard (1989). Dan H Laurence (ed.). Shaw's Music – The Complete Music Criticism of Bernard Shaw, Volume 2. London: The Bodley Head. ISBN 0-370-31271-6.
- Stanford, Charles Villiers (1908). Studies and Memories. London: Archibald Constable and Co. OCLC 855469.
- Stanford, Charles Villiers (1914). Pages from an Unwritten Diary. London: Edward Arnold. OCLC 4092488.
- Stradling, Robert; Meirion Hughes (2001). The English Musical Renaissance, 1840–1940: Constructing a National Music. Manchester: Manchester University Press. ISBN 0-7190-5829-5.
- Temperley, Nicholas (1981). "Cathedral Music". In Nicholas Temperley (ed.). Music in Britain – The Romantic Age 1800–1914. London: Athlone Press. ISBN 0-485-13005-X.
- Walker, Alan (2010). Hans von Bülow – A Life and Times. Oxford: Oxford University Press. ISBN 978-0-19-536868-0.
- Willeby, Charles (1896). Masters of English Music. London: James R Osgood, McIlvaine & Co. OCLC 854575.
- Wood, Henry J (1938). My Life of Music. London: Victor Gollancz. OCLC 30533927.
- Young, Percy M (1971). Sir Arthur Sullivan. London: J M Dent & Sons. ISBN 0-460-03934-2.
Further reading[edit]
- Mac Cóil, Liam (2010). An Chláirseach agus an Choróin – Seacht gCeolsiansa Stanford (in Irish). Indreabhán: Leabhar Breac. ISBN 978-0-89833-245-2.
- Norris, Gerald (1980). Stanford, the Cambridge Jubilee, and Tchaikovsky. Newton Abbot: David & Charles. ISBN 0-7153-7856-2.
- Plunket Greene, Harry (1935). Charles Villiers Stanford. London: Edward Arnold. OCLC 4994059.
External links[edit]
- Howell, Christopher. Stanford String Quartets – review, Music Web International, 1997
- Introductory notes by Edition Silvertrust:
- 3 Intermezzi for Clarinet & Piano, Op. 13
- Cello Sonata No.2 in D minor, Op. 39
- Piano Quartet No.1 in F Major, Op. 15
- Piano Quintet in D minor, Op. 25
- Piano Trio No.1 in E Flat Major, Op. 35
- Piano Trio No.2 in g minor, Op. 73
- Piano Trio No.3 in A Major, Op. 158
- String Quartet No.1 in G Major, Op. 44
- String Quartet No.2 in a minor, Op. 45
- String Quintet in F Major, Op. 85
- Stanford Family Tree
- Free scores by Charles Villiers Stanford in the Choral Public Domain Library (ChoralWiki)
- Free scores by Charles Villiers Stanford at the International Music Score Library Project (IMSLP)
- Moore's Irish Melodies, arranged by C. V. Stanford
- The Stanford Society
- 1852 births
- 1924 deaths
- 19th-century classical composers
- 19th-century conductors (music)
- 19th-century Irish people
- 19th-century British musicologists
- 20th-century British musicologists
- 20th-century classical composers
- 20th-century conductors (music)
- 20th-century Irish male musicians
- Pupils of Carl Reinecke
- Academics of the Royal College of Music
- Professors of Music (Cambridge)
- Alumni of Queens' College, Cambridge
- Bach musicians
- Classical composers of church music
- Composers awarded knighthoods
- Composers for piano
- Composers for pipe organ
- Oratorio composers
- Irish Anglicans
- Irish classical composers
- Irish classical organists
- Irish expatriates in the United Kingdom
- Irish knights
- Irish male classical composers
- Irish opera composers
- Knights Bachelor
- Male opera composers
- Male classical organists
- Musicians from Dublin (city)
- Romantic composers
- String quartet composers


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"Facility of the Year" Awarded in Vermont
SOUTH BURLINGTON, Vt. — Each year, the National Commission on Correctional Health Care (NCCHC) recognizes a standout facility and presents them with the Facility of Year award. For 2012, the Chittenden Regional Correctional Facility (CRCF) was presented with the prestigious honor.
CRCF in South Burlington, Vt., was selected for its variety of inmate programs and features that make it unique in the correctional market. CRCF was selected from nearly 500 prisons, jails and juvenile facilities accredited by NCCHC.
CRCF is operated by the Vermont Department of Corrections, who also accepted the Facility of the Year award by NCCHC. The facility is a minimum-maximum security facility that houses inmates from three counties as well as transfers from other state facilities and some federal detainees, according to NCCHC. To-date, the daily population of the facility is near 185 inmates.
The programs offered at CRCF were highlighted in the selection process because of the commitment to rehabilitation, among others. One of the programs commended is family oriented and sets out to help incarcerated mothers. The Kids-A-Part-Parenting-Program (KAPPP), provided by the Lund Family Center, a community-based family support organization, develops customized service plans that address both children's needs and the mother's goal for reentry, according to NCCHC.
Correct Care Solutions (CCS) managed many of the programs in a partnership with the Vermont DOC.
"This award is a direct result of the vision and programs instituted by the Vermont DOC; it demonstrates both their dedication to the individuals housed within their facilities and the quality of the staff, from CCS and the Vermont DOC, that work daily to improve the lives of Vermont DOC facility residents," said Jerry Boyle, president of CCS in a statement.
Other programs at the facility are also provided in hopes of rehabilitating inmates and giving them the tools they need to reduce recidivism. The nonprofit, Phoenix House of New England for example, provide substance abuse treatment services to the women, and the Vermont Network Against Domestic and Sexual Violence operates the DIVAS program, which promotes "discussing intimate violence and accessing support," using an evidence-based, trauma-informed approach, according to NCCHC. If these programs do not address the needs of certain inmates, other programs like Vermont Works for Women is also in place, which facilitates hiring coordination and training for employment at CRCF, prerelease employment planning, mentoring and other services that the majority of inmates can participate in.
The Facility of the Year award of course looked at health care at the facility as well. CRCF scored high marks in terms of health care, with routine health care provided to inmates as well as a 24/7 health care staff on the premises. The facility has been accredited by NCCHC since 1998 and in its latest survey was found to be 100 percent compliant with the standards, according to NCCHC.
"Overall, the team that selected CRCF as Facility of the Year was impressed with how well staff consistently demonstrated excellence in health services delivery, correctional health care professionalism and a commitment to mothers and their children," according to a statement by NCCHC.

subset: commoncrawl


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The Job Scheduler in Novell® ZENworks® Orchestrator Server can be used to automatically start deployed jobs on your grid by using either time or event triggers.
You can think of the functionality provided by the time triggers as being similar to a distributed cron system (in fact, time triggers can be described in cron syntax). This triggering, coupled with the job control functions in ZENworks Orchestrator, allows for the sophisticated automation of routine data center tasks.
For example, suppose you want to periodically harvest a large log file in a coordinated way from a farm of several hundred machines. First, you could create an Orchestrator job that uses the datagrid for file movement. The job control options specify that the job should run on not more than three machines at once and sweep across the entire grid. You would then create a schedule to run this job at the desired interval.
As another example, you could use the Job Scheduler to trigger a discovery job every time a new resource is added to the grid. In this case, the job developer writes the discovery job to discover and set facts about the resource. Next, you would create a schedule to run this job on the Run On Resource Start event. In fact, this type of triggered job is currently used in the standard set of deployed discovery jobs to detect specific resource CPU and OS information.
Another example would be to run a job on server startup that sends a notification e-mail to an administrator.
This section of the ZENworks Orchestrator Administration Guide includes the following information:


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The more SQL fields I add to my tables and the more primary/foreign keys I add the more I lose the overview for specific fields for certain scenarios like Get/Add/Delete/Update data.
I use SQL Management Studio (SQL Server) to design my database in the database diagram designer.
Maybe there is a better tool or good approach how to keep track of the meaning of all those fields?


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[Compiled by Josh Newell '91, English 34, Brown University. Emphasis added in the passages below.]
he grotesque is a structure. Its nature could be summed up in a phrase that has repeatedly suggested itself to us: THE GROTESQUE IS THE ESTRANGED WORLD. But some additional explanation is required. For viewed from the outside, the world of the fairy tale could also be regarded as strange and alien. Yet its world is not estranged, that is to say, the elements in it which are familiar and natural to us do not suddenly turn out to be ominous. It is our world which has to be transformed. Suddenness and surprise are essential elements of the grotesque. In literature the grotesque appears in a scene or animated tableau. Its representations in the plastic arts, too, do not refer to a state of repose but to an action, a "pregnant moment", or at least — in the case of Kafka — a situation that is filled with ominous tension. In this way the kind of strangeness we have in mind is somewhat more closely defined. We are strongly affected and terrified because it is our world which ceases to be reliable, and we feel that we would be unable to live in this changed world. The grotesque instills fear of life rather than death. Structurally, it presupposes that the categories which apply to our world view become inapplicable." The various forms of the grotesque are the most obvious and pronounced contradictions of any kind of rationalism and any systematic use of thought — Wolfgang Kayser, The Grotesque in Art and Literature, 185
The present tendency is to view the grotesque as a fundamentally ambivalent thing, as a clash of opposites, and hense, in some forms at least, as an approximate expression of the problematic nature of existence. It is no accident that the grotesque mode in art and literature tends to be prevalent in societies and eras marked by strife, radical changes or disorientation — Philip Thomson, The Grotesque, 11
The most consistently distinguished characteristic of the grotesque has been the fundamental element of disharmony, whether this is referred to as conflict, clash, mixture of the heterogeneous, or conflation of disparates. It is important that this disharmony has been seen, not merely in the work of art as such, but also in the reaction it produces and (speculatively) in the creative temperament and psychological make-up of the artist — Thomson, 20.
The basic definition of the grotesque: the unresolved clash of incompatibles in work and response. It is significant this clash is paralleled by the ambivalent nature of the abnormal as present in the grotesque: we might consider a secondary definition of the grotesque to be the 'ambivalently abnormal' — Thomson, 27.
Last modified 1992


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Session Name: | Getting Out Of The Garage: Managing Teams, Legal Fees, Cloud Servers And 97 Other Things To Manage Growth |
Speaker(s): | Iman Mostafavi |
Company Name(s): | Limbic Software |
Track / Format: | Smartphone and Tablet Games Summit |
Did you know free users get access to 30% of content from the last 2 years?
Overview: |
This session will use Limbic Software as a core case study for understanding and overcoming the technical and operational challenges that come with rapid growth. Learn how Limbic continues to evolve from an installed user base of zero players to over 11 million after shipping three original game franchises for iOS (TowerMadness, Nuts!, and Zombie Gunship). Dealing with scale is one of the toughest challenges for any business; here is a great chance to learn from the successes and failure of high profile independent app developer. |


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Diagnosed With Mesothelioma? >>> Don't Wait to Get Help. Call (800) 291-0963 Now!
Asbestos was used heavily in the Nebraska building trades with peak years being 1930-1980.
Nebraska workers and residents exposed to asbestos diagnosed with Mesothelioma are entitled to compensation through lawsuits and Asbestos Trust Funds.
An experienced Nebraska Mesothelioma lawyer can help you fight against negligent manufacturers that exposed you to asbestos.
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High-Risk Jobs in Nebraska With Asbestos Exposure
High-risk asbestos exposure jobs in Nebraska are insulators, boilermakers, electricians, plumbers, demolition workers, construction workers, machinists, mechanics, metalsmiths, repairmen, pipefitters, ship fitters, technicians, factory workers, welders, and civilian contractors.
Asbestos manufacturing companies knew of the deadly effects of asbestos exposure as far back as 1924 when the first Mesothelioma case was recorded in medical journals.
Asbestos manufacturers also knew as far back as the early 1960s that secondhand asbestos exposure to the families of workers could also cause Mesothelioma.
The World Health Organization estimates that asbestos exposure causes half of all deaths from occupational cancers. One hundred twenty-five million people worldwide have been in contact with asbestos in their workplace.
If you have a Mesothelioma or another asbestos-related diagnosis due to the negligence of an employer or asbestos manufacturer in Nebraska, you may be entitled to compensation through an asbestos exposure lawsuit.
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Malignant Mesothelioma is a rare cancer that affects the abdomen, lining of lungs, heart, and major organs of the body. Mesothelioma cancer is caused by exposure to asbestos through the ingestion or inhaling of toxic microscopic asbestos fibers.
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The cause of Mesothelioma is exposure to asbestos materials and products. Mesothelioma is a rare and deadly type of cancer that develops in the lining of the lungs, stomach (abdomen), and the heart sac. When a person breathes, inhales or ingests microscopic asbestos fibers, they can stay dormant in the body for 10-50 years before manifesting cancer symptoms.
Who is Most Likely to Get Mesothelioma?
The average age of a person diagnosed with Mesothelioma is 69 years old. People most likely to get diagnosed with Mesothelioma have worked around asbestos did the laundry for a worker would have been exposed.
About 3,500 people will be diagnosed with malignant Mesothelioma each year in the U. S., and more than 15,000 Americans will die from an asbestos-related disease (asbestos lung cancer, asbestosis).
Asbestos manufacturers of products and materials have admitted fault and set up trust funds to compensate workers for their asbestos exposure. There are more than 30 billion dollars in asbestos trust funds for patients diagnosed with Mesothelioma cancer, asbestos lung cancer, and other asbestos-related diseases. If you know someone diagnosed with Mesothelioma, contact us to learn more about your legal rights for compensation.
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There are approximately 25 million veterans in the United States.
U.S. Navy Ships contained more than 300 asbestos-containing products and materials that were used regularly in the constructions of ships until 1980. Thousands of military veterans served on U. S. Navy ships with the peak exposure years from 1930-1980.
Asbestos products onboard ships included insulation, pipes, boilers, cement, sealers, gaskets, cables, tubes, valves, electrical fixtures, wiring, pumps, decking, paints, non-skid flooring, and in bulk headwalls, ship hulls, mess halls, engine rooms, navigation rooms, and sleeping quarters.
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Copyright © 2018 Legal help Centers, Corp.


text:
Workday has filed its S-1 with the SEC as part of its IPO process. For the 37 months ending January 31, 2012, total revenues were $ 227 million, accelerating year on year, so let's round off to lifetime revenues of $ 350 million.
The whole document makes interesting reading especially if you are a lawyer or an accountant. Personally, I went into a froth thinking about the likely economics at "325 customers, including large, global companies such as Aviva International Holdings Ltd., AIG, Inc., Flextronics International, Four Seasons Hotels, Georgetown University, Kimberly-Clark Corporation and Lenovo"
I profiled the Flextronics Workday project in my recent book.
"It was the meeting where our IT council gave me the green light to proceed with a major global project to consolidate 80 different HR systems across the world. We had settled on our existing ERP vendor's software," says David Smoley, CIO of Flextronics, one of the world's largest electronics contract manufacturers. "I thanked them for approving such a large project and then I surprised them. I told them I may come back to them in the next month with a 'better, faster, cheaper' option."
"The proposal from Workday saved us more than 40 percent over the life of the project, with even larger savings in the first year. By going with Workday we were able to reduce our team size by more than 60 percent."
David saved plenty on his initial implementation project because he used a small set of Workday consultants compared to a proposal from a large outsourcer for the on-premise project alternative. But it is a a gift that keeps on giving. He has eliminated three major TCO elements going forward – hosting, application support and upgrades.
a) Many on-premise customers continue to pay IBM, HP, SunGard $ 1 to 2 a GB a month for their storage costs and even more for the compute servers and networks and data center costs. Included in Workday's subscription price.
b) They pay Accenture, Infosys and others for 5, 10, 15, 50 bodies to support/tune their applications after they go live. Included in Workday's subscription price.
c) They pay a Cap Gemini or another SI to upgrade releases every 2 to 4 years. Those projects are expensive when you factor the change management chaos they create and related testing. Workday has smoothly migrated its customers in background across 16 releases so far.
By my estimate for every 1$ a customer pays to SaaS vendors it saves $ 3 to $ 5 in on-premise costs around those 3 elements. Elements a and b could be squeezed if outsourcers moved to multi-tenancy models as I wrote here, but they have not.
So while investors salivate about Workday's IPO, I think customers owe Dave and Aneel and Stan and the entire team at Workday an even bigger hug. Workday has saved them over a billion so far, and yes, that gift will keep on giving, till on-premise vendors knock some sense into their hosting and application management partners to move to shared service models.


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From 2010.igem.org
Revision as of 16:46, 9 October 2010 by Supacalafrglstic (Talk | contribs)
The 2010 MIT iGEM team. We are biological engineers, physicists, electrical engineers, chemical engineers, mathematicians, and computer scientists.
Programmable, Self-constructing Biomaterials |
The 2010 MIT iGEM team focused on the control and production of self-constructing and self-repairing living biomaterials through both bacterial and mammalian engineering. We ventured to set up the framework for material formation in both types of cells, for future applications in living, self-repairing materials and in vitro organogenesis respectively. We have accomplished far beyond what we expected of ourselves! In addition to our project, we have created a new Mammalian Biobrick standard, contributed original parts for mammalian cells and bacteriophage, and we have biobricked two working toggles for the registry. |


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Free download of The Jewish Trinity Sourcebook!
Whether Moon-gods Were the High-gods in South Arabian Religions |
Demographic Jihad by the Numbers: Getting a Handle on the True Scope |
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Yoel Natan comes from the Hebrew.
Yo-el means "Yah[veh] is God (El).
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The Jewish Trinity by Yoel Natan
Description: Conventional wisdom states that the Hebrew Scriptures only hint that there are persons of Yahveh. This book shows that Moses and other Bible writers wrote strikingly and often, both about the Trinity and the deity of the Messiah. The Old Testament is as explicit about the Trinity and the deity of the Messiah as is the New Testament. The author identifies many more proofs than are found in other books that discuss the Trinity. The bottom line is that any reader will see the Trinity evidenced throughout the Bible.
Paperback: 368 pages; Publisher: Aventine Press; First Published: 2003
Table of Contents: Foreword; Glossary and Abbreviations; Synopsis of The Jewish Trinity; Chapter 01: The Syntax War Between Trinitarians and Unitarians; Chapter 02: Proto-Sinaitic Trinitarianism; Chapter 03: The Presences of Elyon; Chapter 04: The Shema; Chapter 05: The Trinity in Daniel 01-05; Chapter 06: The Prophet Behind the Prophets; Chapter 07: Various OT Presentations of the Trinity; Chapter 08: The NT Use of OT Yahveh Texts; Chapter 09: The "I AM" Statements; Chapter 10: The Song of Moses (Deu 32); Appendix A: MT Plurals Referring to Yahveh; Appendix B: OT Texts That Suggest or Speak of the Deity of the Messiah; Appendix C: Trinitarian Proofs; Appendix D: A Sampling of the NT Use of OT Yahveh Texts; Endnotes & Index
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The Jewish Trinity Sourcebook by Yoel Natan
Description: The Jewish Trinity Sourcebook provides much of the data from which Yoel Natan worked to produce The Jewish Trinity: When Rabbis Believed in the Father, Son and Holy Spirit. This Sourcebook is full of Trinitarian evidence amassed mostly from the Hebrew Scripture (OT)--evidence that could not fit between the covers of The Jewish Trinity. In The Jewish Trinity, Yoel Natan grappled with, and refuted, anti-Trinitarian evidence. He also provided many Trinitarian proofs. The Jewish Trinity told the reader how the Old Testament is meant to be read Trinitarian. This Sourcebook goes further and actually shows passages of the Old Testament read Trinitarian.
Paperback: 396 pages; Publisher: Lulu Press; First Published September 2003.
Table of Contents:
(This Volume II is continued from The Jewish Trinity, Volume I
Dependencies / Abbreviations / Legend / How to Read the OT as Trinitarian / Doctrinal Note
Appendix E: NT Use of OT Yahveh Texts—Sorted by OT Citation
Appendix F: The NT Use of OT Yahveh Texts—Sorted by Extract
Appendix G: The Meaning and Origin of the Names of the Twelve Disciples
Appendix H: Trinitarian Readings From the Old Testament:
Genesis, Exodus, Numbers, Psalms, Isaiah, Jeremiah, Lamentations, Ezekiel, Daniel, Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah, Haggai, Zechariah and Malachi
Keywords: adon, adonai, adonee, Adonim, Aleph Tav, anee hu, Atah-hu, Athanasian Creed, echad, Echadim, egw eimi, El Shaddai, Elyon, Eusebius, Evolution, Gibbor, haElohim, ho wn, Ilyonin, Interpreting Malek, khayyim, Kurios, Malek, Malek Yahveh, OLAM, panim, Panim, Peniel, Rabbi, rabbis, Ruach, School Voucher, Shema, subsidies, The Big Painter Theory, Yeshua
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Paperback: less than 100 pages; Dimensions (in inches): 9.12 x 6.24; Publisher: Lulu Press (Note: Not In Print Yet)
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Description: In 1530 Luther wrote in his Preface to Revelation that he compared 1500 years of church history to the images of Revelation to arrive at his Amillennial interpretation. Now, however, another 500 years have passed, which allows for a much more accurate interpretation.
Paperback: less than 400 pages; Dimensions (in inches): 9.12 x 6.24; Publisher: Lulu Press (Note: Not In Print Yet)
Table of Contents: See Google Print (link above).
Keywords: Luther, Lutheran, Amillennialism, Islam, Catholicism, papacy, 666
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MOON-O-THEISM by Yoel Natan
Description: Yoel Natan writes about Mideast moon-god religions. This epochal
book is complete. The two volumes add up to nearly 1200 pages. Published 4 August 2006.
Table of Contents: See Google Print (link is above).
Keywords: Moon-god, Moon god, Mideast, religion, Suen Su-en, Sin
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Fire, LITURGICAL USE OF.—Fire is one of the most expressive and most ancient of liturgical symbols. All the creeds of antiquity accorded a prominent place to this element whose mysterious nature and irresistible power frequently caused it to be adored as a god. The sun, as the principle of heat and light for the earth, was regarded as an igneous mass and had its share in this worship. Christianity adapted this usual belief, but denied the divine title to heat and light, and made them the symbols of the divinity, which enlightens and warms humanity. The symbolism led quite naturally to the liturgical rite by which the Church on the Eve of Easter celebrates the mystery of the Death and Resurrection of Christ, of which the extinguished and rekindled fire furnishes the expressive image. The beginning of the office also reflects ancient beliefs. The new fire is struck from a flint and is blessed with this prayer: "Lord God, Almighty Father, inextinguishable light, Who hast created all light, bless this light sanctified and blessed by Thee, Who hast enlightened the whole world: make us enlightened by that light and inflamed with the fire of Thy brightness; and as Thou didst enlighten Moses when he went out of Egypt, so illuminate our hearts and senses that we may attain life and light everlasting through Christ our Lord. Amen." When the fire has been struck from the flint the three-branched candle is lighted and the deacon chants the "Exultet" (q.v.), a liturgical poem whose style is as lively and charming as the melody which accompanies it. It is yet preserved in the Roman Liturgy. In the East the ceremony of the new fire occupies a place of considerable importance in the paschal ritual of the Greek Church at Jerusalem. This ceremony is the occasion for scandalous demonstrations of a piety which frequently degenerates into orgies worthy of pagan rites. The Journal of the Marquis de Nointel, in the seventeenth century, relates scenes which cannot be transcribed and which take lace periodically. This ceremony is peculiar to the Holy City and does not figure in the ordinary Byzantine ritual.
In the West we see the Irish, as early as the sixth century, lighting large fires at nightfall on the Eve of Easter. The correspondence of St. Boniface with Pope Zachary furnishes a curious detail on this subject. These fires were kindled, not with brands from other fires, but with lenses; they were therefore new fires. There is no trace of this custom in Gaul, where the Merovingian liturgical books are silent on the point. It is difficult to say what took place in Spain, for although the Mozarabic Missal contains a blessing of fire at the beginning of the vigil of Easter,. it can hardly be admitted that this ceremony was primitive is obtained from a flint and steel. It is possible that the custom, of Breton or Celtic origin, was Unposed upon the Anglo-Saxons, and the missionaries of that nation brought it to the continent in the eighth century. An altogether different rite, though of similar meaning, was followed at Rome. On Holy Thursday, at the consecration of the holy chrism, there was collected in all the lamps of the Lateran basilica a quantity of oil sufficient to fill three large vases deposited in the corner of the church. Wicks burned in this oil until the night of Holy Saturday, when there were lighted from these lamps the candles and other luminaries by which, during the Eve of Easter, light was thrown on the ceremonies of the administration of baptism. This rite must have been attended with a certain solemnity since the letter of Pope Zachary to St. Boniface prescribes that a priest, perhaps even a bishop, should officiate on this occasion. Unhappily we are reduced to this somewhat vague information, for neither the Roman "Ordines", nor the Sacramentaries tell us anything concerning this ceremony. This blessing of the paschal candle and the fire at the beginning of Easter Eve is foreign to Rome. The large lamps prepared on Holy Thursday provided fire on the Friday and Saturday without necessitating the solemn production of a new fire. The feast of the Purification or Candlemas (February 2) has a celebrated rite with ancient prayers concerning the emission of liturgical fire and light. One of them invokes Christ as "the true light which enlightenest every man that cometh into this world". The canticle of Sim-eon, "Nunc Dimittis", is chanted with the anthem "A light (which my eyes have seen) for the revelation of the Gentiles and for the glory of thy people Israel."